Concierto de Aranjuez Structure (2)

Concierto de Aranjuez - Three movements (only movements movements I and II in the exam) MOVEMET OE! A""E#$O CO %&I$ITO TOIC 'E!  MA*O$ FIRST SECTION

EXPOSITION – Tonic Key

Min +,+ Begins with the solo guitar playing, accompanied only by divisi double basses, playing a tonic pedal. Min +,0  The woodwind section joins playing a short motive, derived from the introduction, guitar plays a simple quaver gure, like the opening music. Min +,10 Repeat of the introduction played by the strings, this time without the double basses. nstead the cellos play a tonic pedal.

Firt S!"#ect Min $%&' !layed by the "st oboe # "st violins. ntro is repeated as an accomp to the clarinets, "st horn and "st trumpet  join the lower strings Min 2,23Return of music from the introduction by the full orchestra, strings take the original guitar part and the woodwind and brass play the short motif from the introduction. Min 2,/$uitar presents the %irst &ubject 'originally played by the "st oboe and "st violins(. Min 2,. The rhythm is di)erent and no longer accomp by music from the intro. The woodwind adds ornamentation. Min 2,4+ The music begins to move

Secon( S!"#ect 

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Min ,++ &till in the key of * major, if following sonata form it would be e+pected in the dominant ' major(. Min ,+4 -ov es towards  /at and then towards  major. Min ,+ &eco nd &ubject played by the guitar in % major Min

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DEVELOPMENT-Dominant   minor  Min ,./ nversion of the introductory theme, in  minor 'the dominant minor(, rather than the dominant that would be e+pected 0ew key signature, rather than using accidentals.  The intro theme is heard, then %irst &ubject played by a solo cello, with added decoration. Min 1,+. $uitar returns with the intro in  major, major, then suggestions of the %irst &ubject.  The orchestra returns and and with the guitar move the music towards 1 major. major. Min 1,25 %lutes enter with a shortened version of the introduction. Min 1,/ The horn enters with a shortened and varied version of the %irst &ubject, then passed to the "st oboe, then "st bassoon. This is accompanied by the strings playing the intro in  /at major, moving to B major "st violins, and guitar, play the %irst &ubject  The key signature is changed back to the original two sharps and B major quickly becomes B minor

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RECAPITULATION-Tonic CODAKey  Tonic Key  Min .,+ %irst &ubject is played by Min 4,+ 3uaver gure the oboe and "st violins, from the with the introductory introduction is rhythm used in the played by the accompaniment. strings while  The intro appears as an the woodwind accomp to the %irst play a dotted &ubject. version of the  The guitar enters with %irst &ubject the answering phrase of the %irst &ubject. The 1adential woodwind echo some of phrase, the notes scending * major scale played by all is now played by the 3uaver gure /ute  The +position is heard a from the intro returns in the fth higher, leading to solo part, the entry of the &econd intro appears &ubject , e+pected to be in shortened played in the tonic2 form played however, played in the by the strings key of $ 'the followed by subdominant(. ccomp guitar. by the guitar playing arpeggios and muted  The trumpets. movement  The piccolo and oboe nishes very play &econd &ubject abruptly brie/y but it returns to the clarinet. t touches on  /at and returns to home key.  complete reprise of what was heard in the

away from * major. 'B minor 4 the relative minor( is suggested, with the use of the dominant '% sharp major(. 5armonies show the in/uence of /amenco music.

FIRST SECTION •

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,5 The music touches on * /at major before reaching  major

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 The second subject reappears, accompanied by the whole orchestra, with descending scales in the woodwind and guitar.

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e+position. $uitar plays the &econd &ubject 'as in the +position( in the key of B /at major.  complete reprise of the e+position follows, but in  as the dominant key, and moving to the tonic, * major.

%ECO MOVEMET! AA#IO - TOIC 'E! 6 MIO$ (T7E $E"ATIVE MIO$) T,IRD SECTION-Act SECOND SECTION-Act a a (e)e*o+ment  

%irst bar as an ntro, arp. tonic chord by the soloist, sustained B in the cellos and double basses.  The main theme played by solo cor anglais, accomp by guitar and solo strings. 1or anglais is used to evoke the style of %lamenco singing 6saeta”  , violas double the guitar part. -ain theme repeated by guitar, with the full string section. 7se of "st inversions of chords  and 8.  variation9 cor anglais begins a :th higher than before, accomp by sustained lower strings and a desc violin scale.  The harmony desc from $ major, to %; minor and then  minor, elaboration of the harmony in the guitar. -ain theme repeated by the guitar with decoration and full string section. lso

areca+

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Firt De)e*o+ment an( rt  ca(en.a 0ew idea in the solo part, over a B major th. *escending triplets played by the guitar will reappear later. ?ey moves on to $ minor and the orchestra repeats the rst bar of the main theme. This time it begins after a crotchet rest. @ne more repeat played by the guitar and including desc triplets over a $ major chord

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Secon( De)e*o+ment  an( econ( ca(en.a @boe plays a short melody over a dissonant string chord.  This is interrupted by the guitar playing an ascending  minor scale in triplets, over the dominant of  minor '( in the cellos and double basses.  The oboe then repeats the melody a tone lower, again accompanied by dissonant strings. @nce again the guitar interrupts, with a slightly modied triplet passage.  The woodwind then play a version of the triplet gure but broken up, to be shared around the woodwind and brass and nally

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CODA

0ot in the tonic key Back to the tonic 'key 'as e+pected(, but signature of in the *ominant '% three sharps sharp minor(. remains(. 1hange of key  The bassoon signature to three sharps, rather than and cor anglais play the two with which the start of the movement the motif, began. then played in  The rst ve bars full by the of the main theme solo guitar played in octaves over a by violins and dominant violas. chord '%  The woodwind sharp major(. echoes the rst  This resolves three notes of the onto B major theme and the 'a Tierce de bass playing the Picardie A the accompaniment major version from the guitar of the minor repeat of the tonic of the theme.  The music is based movement( B major on the variation of arpeggio in the main theme, the guitar.

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slightly e+tended. @rchestra continues the e+tension of the theme, taking a motif and repeating it in sequence. -otif taken up by the violas and "st violins in octaves. ?ey changes to the dominant minor '% sharp minor(, then changed to % sharp major.  The cor anglais plays a version of the cello motif, the guitar plays repeated arpeggiated %; major chords, preparing for the ne+t section.

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with an added minor < th, which resolves onto a 1 minor chord. Rapid modulation so that the key of  minor is reached. Firt Ca(en.a  Thoughtful and re/ective. Based on the original guitar repeat of the main theme, but with varied decoration.  The guitarist has to provide the accomp of arpeggiated chords.  The melodic writing is notated on the lower stave and the accompanying harmony on the upper stave. ach of the chords has  at the top 'inverted pedal(, resulting in dissonant chords.

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passed to the bassoon. Secon( Ca(en.a  more traditional virtuosic cadena. &ounds improvised, but it is fully notated. 1hange in key signature to four sharps '1; minor(, but the rst section pivots around the note $ sharp.  The clima+ is accompanied by piicato unison $ sharps in the strings and the guitar strumming an % sharp minor chord 'with alternating top note of  and $;( over a $; pedal.

 Join the directions on the score to their defnitions.

Rasgueado

7sing a bouncing stroke of the bow on the string.

Sigue or segue

!lay with the heel of the bow

 Arm

Spiccato

Col talone

1ontinue to play in this way

 The instruments should be muted

-eans CstrummingD in &panish %lamenco guitar technique

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starting on a chord of * major.  The melody is further varied, and the harmony descends as before 'now * major, 1 sharp minor, B minor(.  The cello motif returns, now played by the /ute.  The guitar plays a variation but now contrapuntally in two parts and with use of triplets.

5armonics9 natural harmonics in the violas and cellos, false harmonics in the violins, harmonics in the solo part. 1ambridge nternational

Sordina

*ivided, half of the section should play the top notes on the stave and the other half should play the bottom notes.

Divisi

 The note should be played as a harmonic

Unis

 The printed notes are to be played only by the "st /ute

Pizz

Pizzicato strings should be plucked

!o

-eans CstringD

Cuerda

8iolins should move their bows to play nearer the bridge.

"en marcato il canto

C7nitedD, all instruments in the section should now play the same notes

Ponticello

 The melody should be brought out